Under the ship the air was stifling and humid; it was like walking into a thick blanket soaked in something thick and warm. The surface of the lake was red glass, and supported above the undulating dark floor of the lake by enormous, grotesquely gnarled red pillars; they looked like immense wax-smothered bottles, holders of a thousand gigantic candles each of which had burned down and left its solidified flow behind. One of the pillars supported the ship they were. descending from.

The steps ended on the dark ash of the lake floor. It was difficult to walk in, and they were all struggling. She looked up through the glass — there was a hole there, burned as though the glass was plastic and saw Steven Orrick painting the bows of the Le Cercle, standing on a little wooden plank. He was working very slowly, as though in a trance, and didn't notice the people underneath him. Some of the people with her let little fluttering balloons go, releasing them like doves; they beat nervously up through the air, past the great red pillars, through the melted hole in the glass, and up towards the young man painting the hull around the Nakodo's name.

The balloons got bigger as they rose, and when they got to Orrick they were larger than he was; they spread their wings and wrapped themselves round him; he dropped the brush, dropped the paint tin, and was held there on the little wooden plank, gripped by first one, then two, then many of the expanded balloons, which nestled tighter and tighter in with their wings, and then soundlessly burst apart, blowing out in a scattering of white feathers that rained slowly down while Orrick's shrivelled body fell, cartwheeling lazily, from the bows, and crashed through the red lake surface. He fell in a hail of quick red glass and slow white feathers. Where the paint tin had fallen against the bow of the ship, it had left a long streak of red lead over one of the letters of the ship's name, so that the letters now spelled out NADA.

She didn't see where Orrick landed. The air was full of white feathers. The lake surface healed up where he'd fallen through.

At the end of the lake, where the dam had been, the surface ended abruptly above them, while the lake floor continued out into the open air, down the course of a long dry river. She felt glad to be back, and to have left the other people behind. Above her, the milky clouds let through a diffuse glow of sunlight.

The clouds had a grid written on them; dark lines stretching north-south and east-west. She walked the dry, black dust, passing shattered and deserted buildings in the distance to each side, and watched the grid of the sky gradually fill up with huge circular shapes; they occupied the interstices of the grid; some were dark, like the ash beneath her feet, and some were milky, like the clouds themselves, and hardly visible; just giant halos of light in the sky. It became darker as more of the huge shapes floated down into place. DNA, said the shapes.

This must be going on everywhere, she thought. Like a giant game of go. Light and dark; everywhere. She wondered who would win. She wanted the light-coloured ones to win. They appeared to be winning. She walked on, noticing that the city around her seemed to be growing. The buildings were less wrecked and not as far apart as they had been. The sky was lightening again, as the milky shapes above surrounded and took over the dark ones. The city was crowding in now, buildings creaking upwards into the sky as she watched. There were people as well. They were small and still far away, but they moved about the grid of the city, beneath the towering, stretching buildings.

The sky was milky, the sky was clear. The sky-wide circles had taken over the sky. A terrific wind started up, and howled round the buildings as the sky became brighter and the sunlight slammed down. She kept walking but saw everybody else swept away and whirled into the air, fluttering whitely. The sun glinted through one of the great lenses in the sky, dimmed briefly, then flared, exploded, blinding her and wrapping a cloak of heat across her face.

When she opened her eyes the buildings had melted and stood as pillars over the grey ash beneath her feet, supporting a sky of cracked red glass, like something old and fused and smeared with blood.

The grey ash shuddered, sending a tremor up through her feet, shaking her. The sky called her name.

She woke to find Philippe shaking her shoulder. Sucre stood at her feet, kicking them, looking bored. In one hand he held a large knife, in the other her cello case. Her eyes widened; she sat up. Sucre put the knife in its sheath and hefted his assault rifle. The plastic restrainer joining Hisako to Philippe had been cut; she was free.

Sucre jerked his head towards the door. 'You come with me; we go to a concert.

They took her across to the Nakodo in Le Cercle's Gemini; the one she and Philippe used on their dives. The sunlight was bright on the water through the patchy cloud, and she hugged her cello case to her, gaining some distant comfort from its leather smell. Sucre sat in the bows, facing her, mirror shades showing the cello case, her, and the vencerista at the outboard. There was a small thin smile on his face; he hadn't answered any of her questions about why they were heading for the Nakodo with the cello. He kept the Kalashnikov pointed at her the whole way across. She wondered what would happen if she threw the cello case at him. Would it stop the bullets? She didn't think so. He would probably puncture the Gemini if the gun went off on automatic; maybe he would even hit the vencerista at the stern, but her own chances of surviving would be small.

She imagined, nevertheless, throwing it at him, leaping after it; Sucre somehow missing it and her, her grabbing his gun, perhaps knocking him overboard (though how to do that without losing the gun, strapped round his shoulders?), or just knocking him unconscious, still getting the gun from him in time to turn and fire before the man in the stern could reach for and fire his own machine-gun… yes, and she could swim away from the probably sinking Gemini, using the cello case as a life raft, and rescue all the others or get word to the outside world, and everything would be just fine. She swallowed heavily, as though consuming the wildness of the idea. Her heart beat hard, thudding against the cello case.

She wondered how often people had been in such a situation; not knowing what was going to happen to them, but so full of fearful hope and hopeless fear they went along with whatever their captors were arranging, praying it would end without bloodshed, lost in some pathetic human trust that no terrible harm was being prepared for them.

How many people had been woken by the hammering at the door in the small hours, and had gone — perhaps protesting, but otherwise meekly — to their deaths? Perhaps they went quietly to protect their family; perhaps because they could not believe that what was happening to them was anything — could be anything — other than a terrible mistake. Had they known their family too was doomed, had they known they were themselves already utterly condemned and without hope, destined inevitably for a bullet in the neck within hours, or for years — even decades — of toil and suffering in the camps before a cold and disregarded death, they might have resisted then, at the start, when they still had a chance, however futile their resistance might finally be. But few resisted, from what she knew. Hope was endemic, and sometimes reality implied despair.

How could you believe, even in the cattle trucks, that what had been the most civilised nation on earth was preparing to take you — all of you; the entire trainload and strip you, remove and sort artificial limbs, glasses, clothes and wigs and jewellery, gas you by the hundreds in a production line of death, and then pull the gold teeth from your skull? How? It was the stuff of nightmares, not reality. It was too terrible to be true; even a people inured over the centuries to prejudice and persecution must have found it hard to believe it could really be happening in the West in the twentieth century.